Regina George (Rachel McAdams) from Mean Girls is rightfully an iconic character. She represents that mean, popular girl in school that a lot of people adore but shouldn't. She could be the sweetest person if she likes you, or she can make your life a living nightmare if she doesn't.But, she isn't the best fictional mean girl. Sorry to break it you, but Blair Waldorf (Leighton Meester) from Gossip Girl makes Regina George look like Taylor Swift.
1. Blair gets into an Ivy League school which makes her even more intimidating.
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Regina on the other hand is too busy trying to get answers for these type of questions:
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2. Blair has fashion rules for her followers that actually make sense.
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The Plastics' rules don't really have any rhyme or reason to them.
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3. Blair doesn't pretend to be nice. She will tell you straight up what you're going to get from her.
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Regina would waste everyone's time with weird small talk.
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4. Blair knows how to keep her minions in line!
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Regina gets ousted from her own lunch table. Amateur!
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5. Blair's admirers are the paparazzi.
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Regina's admirers are just her classmates.
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6. This is Regina's idea of a good Halloween costume.
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But, Blair Waldorf knows how to pick a costume. How else do you establish your dominance than dress up as Aubrey Hepburn and kill it?
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7. This is Regina's only tie to fame.
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On the other hand, Rachel Bilson auditions to be Blair in a movie!
YouTube
8. Regina's mother is an embarrassing nightmare.
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Blair's mother is a bragging point since she is the reason behind their fashion empire, and she is a loving mother.
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9. Also if we put Aaron Samuels...
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Against Chuck...
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Well, we would pick Blair's man any day.
10. When Blair wants to ruin your life, she goes to finding your deepest, darkest secrets.
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When Regina wants to ruin your life, her plans ends up backfiring and everyone turns on her.
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Sorry Regina, but you can't sit with us! Do you agree that Blair is the better mean girl? Tweet us your answers using the Twitter handles below!
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Nickelodeon
Assuming you were born around 1983 and that your social circle in the early grammar school years consisted of a rigidly impermeable foursome, we can conclude indisputably that you spent a good deal of your time playing Ninja Turtles. Unlike other pop culture-inspired imagination games, Ninja Turtles never allowed for turn taking as far as the central roles were concerned. Maybe you’d alternate occupancy of Luke, Han, and Chewy when playing Star Wars, or switch off between Margaret and Jimmy for games of Liquid Sky. But when it came to Ninja Turtles, the margins were set before recess even began: you were either the leader, the tough one, the smart one, or the goofball. Without exception.
But are such stark roles present in any other pop culture phenomena? We’d have to imagine so. As such, we sought to our favorite foursomes from the entertainment world and took a stab at assigning them their respective Ninja Turtles.
SEINFELD
LeonardoJerry, the leader (who, incidentally, derives all of his moral fiber from the noble Superman)
RaphaelGeorge, the truly "dark and disturbed" member of the group
DonatelloElaine, the intellectual — she did graduate from Tufts (her safety school), and she scored a 151 on an I.Q. test
MichelangeloKramer, the hipster dufus
THE HOGWARTS HOUSES
LeonardoGryffindor, house of the daring and noble
RaphaelSlytherin, house of the severe and ambitious
DonatelloRavenclaw, house of the wry and intellectual
MichelangeloHufflepuff, house of the spirited and kind
SEX AND THE CITY
LeonardoCarrie, the glue, the narrator and the center of everyone's attention
RaphaelMiranda, stubborn and cynical enough to walk away from the love of her life (twice!)
DonatelloCharlotte, the conservative, overachieving Ivy League grad obsessed with everything appearing perfect
MichelangeloSamantha, who has never passed up a chance to see and be seen
United Artist via Everett Collection
THE BEATLES
LeonardoPaul: "Think globally, act locally."
RaphaelJohn: "Everybody loves you when you're six foot in the ground."
DonatelloGeorge: "When you've seen beyond yourself, then you may find, peace of mind is waiting there."
MichelangeloRingo: "Peace and love. Peace and love."
THE AVENGERS
LeonardoCaptain America, the wholesome, morally didactic good guy
RaphaelThe Hulk, the "muscle" who is tortured by his own demons
DonatelloIron Man, the tech genius who never hesitates to let his teammates know how much smarter he is than they are
MichelangeloThor, who's just kind of an idiot
DAWSON'S CREEK
LeonardoDawson, proving that having your name in the title doesn't save you from being the biggest buzzkill
RaphaelPacey, the rebellious, wise-cracking screw up of your teenage dreams
DonatelloJoey, smart - she went to Worthington! - sweet, and innocent, and always likely to end up in a bad situation
MichelangeloJen, the reformed party girl with a heart of gold and a chip on her shoulder
LITTLE WOMEN
LeonardoMeg, the oldest sister and de facto head of the household
RaphaelJo, strong-willed and at odds with her siblings (and herself)
DonatelloBeth, who is shy, wise, and musically adept
MichelangeloAmy, the li'l one with the penchant for art
Columbia Pictures via Everett Collection
THE GHOSTBUSTERS
LeonardoRay, the heart and soul of the group
RaphaelPeter Venkman, the rebel who plays by his own rules (and forces everyone else to accommodate)
DonatelloEgon Spengler, the smartest in a team of scientists
MichelangeloWinston, who is also there
THE MT. RUSHMORE PRESIDENTS
LeonardoGeorge Washington, the diplomat who kicked off American democracy
RaphaelAbraham Lincoln, the agonizingly depressed hero who took to the front lines
DonatelloThomas Jefferson, the braniac wordsmith who wrote the Declaration of Independence
MichelangeloTheodore Roosevelt, the loon who used to fight bears and whatnot
GOLDEN GIRLS
LeonardoBlanche, the open-minded, creative sort
RaphaelSophia, a master of caustic wit
DonatelloDorothy, the smartest of the lot
MichelangeloRose, the ditz
THE FACTS OF LIFE
LeonardoBlair, who was rich and blond, so she was the natural choice for the central role in an '80s sitcom
RaphaelJo, who wears a leather jacket
DonatelloNatalie, who basically acts like she's 40 at age 15
MichelangeloTootie, who wears rollerskates all the time
20th Century Fox Film via Everett Collection
THE FANTASTIC FOUR
LeonardoSue Storm, the levelheaded voice of reason
RaphaelThe Thing, who is, as one might expect, pretty pissed about being a giant rock
DonatelloMr. Fantastic, the hyper-intellectual
MichelangeloJohnny Storm, the jag who's always jumping around and lighting stuff on fire, because he thinks it's cool
STAND BY ME
LeonardoGordie, the courageous leader
RaphaelChris, the young punk who has stolen his share of milk money
DonatelloVern, the timid perpetual bullying victim
MichelangeloTeddy, the kooky thrill-seeker
GIRLS
LeonardoHannah, who at the very least sees herself as a well-adjusted leader of mankind
RaphaelJessa, the alleged loose cannon who is riddled with dark passengers
DonatelloMarnie, the uptight would-be sophisticate who tries to manufacture life experience by the book
MichelangeloShoshanna, the young nutter butter who garners the least respect
ROCKET POWER
LeonardoReggie Rocket, the smart, even-tempered overachiever
RaphaelOtto Rocket, the troublesome bad boy
DonatelloSam Dullard, the awkward intellectual
MichelangeloTwister Rodriguez, the idiot comic relief
Paramount Pictures via Everett Collection
MEAN GIRLS
LeonardoCady Heron, the acceptable human being
RaphaelRegina George, the villainous upstart
DonatelloGretchen Wieners, kind of just by default
MichelangeloKaren Smith... see "Thor"
THE SWEATHOGS
LeonardoVinnie Barbarino, the boring (albeit charming) leader
RaphaelJuan Epstein, the tough guy with whom everybody knows not to mess
DonatelloArnold Horshach, the dorky dweeb
MichelangeloBoom Boom Washington, the loudmouthed goofball
A special thanks to writers Angie Han (an easygoing Michelangelo type) and Rudie Obias (a total Raphael, with respect) for helping to mastermind this piece, and to everyone else who contributed their varied expertise to the cause.
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DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Paramount via Everett Collection
So the holiday season isn't over, but you've already exhausted your holiday entertainment library. What to do? First, watch Love Actually a second time. (Hugh Grant and the Pointer Sisters, guys.) Then turn to these regular old movies that just happen to host some of the best Christmas scenes in film. Finally, congratulate yourself for being so gosh darn resourceful.
Goodfellas
The guys show up to a post-heist Christmas party with new coupes and gals draped in furs. Jimmy is not pleased. "Are you stupid or somethin'? What's the matter with you?" Sounds like the holidays to us.
The Cutting Edge
The deliciously '90s and saxophone-drenched New Year's Eve scene may be flashier, but we prefer this understated gift exchange between the figure skater and the hockey player. Kate, because she's insufferable, gives Doug an unwieldy copy of Great Expectations. Doug, because he's falling in love with her anyway, gives her his lucky jersey.
American Psycho
Featuring Christan Bale in novelty reindeer antlers; a pot-bellied pig named Snowball; and a very PC Reese Witherspoon telling everyone to have a "Merry X-Mas!"
Mean Girls
The Plastics perform a sexy dance for their school's holiday show; Amy Poehler still manages to steal the scene.
Harry Potter and the Sorcerer's Stone
Who wouldn't want to pull on a Weasley sweater and spend Christmas at Hogwarts? The Great Hall looks even more magical than usual and a festive John Williams score follows everyone around. Plus, Harry getting his very first presents from his new friends gets us every time.
Hot Fuzz
Not a scene, perhaps, but we can't snub a cameo by Peter Jackson as a demented Father Christmas.
Life of Brian
Brian is just Brian, so this scene may not actually count as a Christmas one. But the Monty Python classic is one of the most hilarious movies of all time, so we actually may not care.
Lady and the Tramp
Puppies!
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Columbia Pictures
The opening scene of American Hustle — a loud, loquacious, upper-fueled romp through the avenues of high stakes swindling — plays somewhat like a Buster Keaton short. We watch a schlubby Christian Bale fumble (with as much delicacy as someone can, in fact, fumble) with a greasy combover and a dime store toupee, laughing at the small scale physical comedy and learning more than you'd expect about Bale's con man character Irving Rosenfeld before we even meet him or hear him speak.
But there is nary a silent moment in the two-and-half hours to follow. Its people speak in explosions. The passions are dialed all the way up between Irv, his accomplice and girlfriend Sydney Prosser (Amy Adams), and the venemous FBI agent (Bradley Cooper) who rangles the pair into the biggest heist of their career. There's no tranquility in the waters of their high-stakes operation to take down a New Jersey mayor, the Italian mob, and quite possibly a few of the dirtier suits in Congress. When things proceed like clockwork, we're talking diving pendulums and cuckoo birds darting from every crevice. Naturally, it's all the more fun when things go awry.
And, of course they do. It wouldn't be a heist movie without a few cogs springing loose. But the beauty of American Hustle is in its undoing. From start to finish, Irv and Sydney are pros at the game. They leave no stone unturned in pulling the wool over the eyes of every deadbeat, mafioso, and active senator that finds his unlucky way into their eyeline. Even the misguided improvisations of Cooper's control freak lawman don't serve to uproot the plans from their course. We don't suffer through a dropping of their guard or an overlooking of important details. Everything that goes wrong in this movie is embedded in character.
The follies, screw-ups, and mutinies are all emotionally charged, inspired by romantic rivalry, ego, flights of affection, and the ribald distate that so many of these people have for each other. Everything in this big, flashy, high-stakes movie is personal. It's a toxic, burning love/hate/envy/longing/attraction/friendship/enmity between every conceivable pairing in this dynamic cast of rich, strong, uproarious characters that fuels the movie and drags down the scheme at its center.
Columbia Pictures
And just about everyone we meet is dragged into the maniacal nucleus by the arms of anxious passion. Irv's spitfire wife Rosalyn (Jennifer Lawrence) outranks the lot of her company in the screws-loose department, stirring the pot of her unfaithful husband's business dealings as soon as she crosses the threshold into his world. The psychopathically dutiful Richie (Cooper) sees anyone who tries to temper his occupational obsessions as the enemy, even his pragmatic Midwesterner boss (Louis C.K.). And at the head of the race is Carmine Polito (Jeremy Renner), unaware of his place in this tremendous game but coursing at top speeds on an engine of his democratic heart nonetheless. The characters are all operating at 11, and most of the actors are able to keep up.
As Irv, a uniquely undesirable Bale is a laugh every minute. We enter this world through him — a world of accessible lies, of rough-and-tumble New York streets, of Long Island parties, of Duke Ellington, of hairpieces, of dry cleaners, of only conning the men you can stomach the idea of laying to waste — and have a terrific time walking in his footsteps. Always just out of reach is Adams as Sydney, who cons herself just as often as she does Richie, Irv, and the poor saps who fall for her seductive act. Bale and Adams are the standouts of the cast — playing their hearts on their sleeves and tucked away tightly, respectively — so it's good fortune that most of our time is spent with one or the other.
The power players from director David O. Russell's last effort, Cooper and Lawrence, shine a bit dimmer here — Cooper plays Richie as petulant, misguided, and teetering on the edge, but he's undercooked beside the far meatier material presented by Bale and Adams. Lawrence, while not without her moments, never seems to commit altogether to the loon that is Rosalyn, alternating between too reserved and too outlandish to really make the character feel like somebody. But the biggest surprise of the lot might be Renner, who has more fun as his Jersey boy Carmine than he ever has onscreen. But in earnest, some credit goes to the hair.
It's the electricity of American Hustle that keeps its long narrative from dragging. We have fun with the characters, the performances, and the colorful world itself. The movie never insists that we feel anything beyond that, but offers a few bites of some authentic empathy for Irv and his kind nonetheless. So we can dip into the bustling character work that Bale and Adams are mastering, Cooper is handling, and Lawrence is just falling shy of delivering on, but we're free to latch onto the life preserver of this movie's output of comedy. There's so much to laugh at in American Hustle, and some wonderfully molded characters to do all your laughing with.
4/5
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Thank goodness for Zach Galifianakis. In a new episode of Between Two Ferns, Galifianakis' mock celebrity interview web series, the Hangover star calls out Justin Bieber for all of the douche moves he's pulled within the last year. It's about time.
While Galifianakis' interviews are usually two-sided (both he and the guest will make fun of each other), this interview is definitely more focused on burning Bieber for his immaturity and nothing else. The episode starts out with Galifianakis saying, "It's really exciting to talk to you, especially right in the middle of your public meltdown," and quickly escalates from there. The good news for Bieber is that it looks like he's actually capable of making fun of himself. Either that or he's actually a d**k.
Funny Or Die
Here a few of the other zingers Galifianakis had in line for Bieber:
- "I've just never interviewed a 7-year-old before. What was the last toy you got in a happy meal?"- "Your young punk attitude is not going to work in this interview. You understand me, son?"- "You've had three hairstyles, so what's next for your career?"- "You know what? I don't like your attitude, to be quite honest. You're too young to be smoking pot and pee-peeing in buckets and driving up and down the highway fast. I don't think your mom would really mind if a stranger whipped her son." (Galifianakis proceeds to take off his belt and whip Bieber.)
More:Justin Bieber is Officially a Worse Role Model Than Lindsay LohanWill Ferrell Makes Out With Zach Galifianakis on 'Between Two Ferns'Jennifer Lawrence, anne Hathaway, Christoph Waltz Go on 'Between Two Ferns'
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After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
1/5
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It takes a lot of cojones (or maybe just complete stupidity) to make the same mistake twice. But that's just what New York mayoral candidate and former congressman Anthony Weiner managed to do when he got caught up in yet another sex scandal. In keeping with tradition, the newest issue of The New Yorker features a clever cartoon cover (say that three times fast) mocking this latest piece of news from the nefarious world of politics.
In the illustration for the August 5 issue, we see Anthony Weiner à la King Kong, straddling a strategically placed Empire State Building, but with a slightly, shall we say, risqué twist. As you've probably noticed, Weiner's scandal lends itself to countless parodies, late-night talk show jokes, and other sorts of fodder for hilarity. (Seriously, his name is Weiner.) But the barrage of media attention and comedic content inspired by his sexual indiscretions is nothing new or unusual. Rather, Weiner's scandal is just the latest in the slew of politicians' sordid affairs that have sparked full-on laugh riots in the comedy world. From fake campaign commercials to parody songs to just straight-up hilarious commentary, these are some of our favorite reactions to political sex scandals.
John EdwardsNorth Carolina Democrat John Edwards was once a state senator, nominee for Vice President, and candidate for President of the United States. But his political ambitions were dashed when news broke that he had fathered an illegimate child with his mistress and former campaign worker Rielle Hunter. The scandal, which caused a national outrage, also inspired an abundance of humorous parodies, including several Saturday Night Live sketches. And we can't forget MadTV's "Viva La Cheata," a musical parody of Coldplay's "Viva La Vida" starring Jerry O'Connell as Edwards.
Herman CainPresidential candidate hopeful Herman Cain was a frontrunner for the Republican Party nomination in 2011, but he was forced to suspend his campaign when four women sued him for sexual harrassment and misconduct. When the fourth season of Arrested Development premiered on Netflix this summer, fans were introduced to a new character named Herbert Love. Mr. Love, a bizarre conservative politician who has an affair with Lindsay Bluth Fünke, is an unmistakable caricature of Herman Cain. If you have a Netflix account, check out his role in the latter half of Season 4. And if you don't, change that.
Mark SanfordWhen South Carolina Governor Mark Sanford went missing for a few days in 2009, it didn't take too much investigative reporting to discover that the married politician was visiting his mistress in Argentina. On The Daily Show, Jon Stewart had a few hilarious choice words about the scandal, calling Sanford "just another politician with a conservative mind and a liberal penis."
Bill ClintonNothing epitomizes the political sex scandal quite like President Bill Clinton's Monica Lewinsky affair. There are too many jokes, songs, commentaries, and parodies to count, but one of our favorite takes on the scandal is Billy Bob Thornton's sleazy, womanizing American president character in Love Actually. Also, when the creators of baracksdubs decided to put together a presidential version of Robin Thicke's suggestive "Blurred Lines," there was no better fit than good ol' Bubba Clinton.
Eliot SpitzerIn 2008, New York governor Eliot Spitzer made headlines and was forced to resign when The New York Times reported that he had been a patron of a high-priced prostitution service called Emperors Club VIP. In all legal proceedings, Spitzer was referred to as Client #9, a moniker that inspired a musical parody of the scandal, set to the melody of Love Potion No. 9. Seth Meyers and Amy Poehler also had some hilariously incredulous commentary on the subject in their signature "Really!?!" segment.
Arnold SchwarzeneggerCalifornia governor and Kennedy husband Arnold Schwarzenegger seemed to have it all. That is, until it was revealed that he had an illegitimate child with one of his longtime household employees. The Governator's scandal prompted yet another brilliant "Really!?!" sketch (unfortunately sans Amy Poehler)
David VitterWhen Louisiana senator David Vitter was identified as a client of the the "D.C. Madam" prostitution service, he did not face criminal charges because of the statute of limiations. The Republican congressman did however face a wave of mockery from the press and public alike. Funny Or Die put together a fake campaign commercial with video footage of Vitter accompanied by captions like "David Vitter has a diaper fetish."
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More:Chelsea Handler Reads Anthony Weiner's SextsAlec Baldwin Calls on Disgraced Weiner to Drop Out of Mayoral RaceJon Stewart Address Weinergate Scandal After Defending Weiner
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After hearing that a movie titled Mean Moms was slated for production, I was filled to the brim with glee at the thought of a second round of Mean Girls, just as any other female of my generation would be. Because, come on, who didn't love watching Cady Heron — Lindsay Lohan in her prime — and the rest of The Plastics scribble in their infamous pink lipstick-coated Burn Book: "Amber D'Alessio. She made out with a hot dog."
Unfortunately, the title for Mean Moms is misleading — it is in fact not a sequel to the Tina Fey-scripted cult classic. Lindsay Lohan, Rachel McAdams, Amanda Seyfreid, nor Lacey Chabert are set to pop up this time around it seems... yeah, I teared up a bit too.
Mean Moms, which Beth McCarthy-Miller (Saturday Night Live) is set to adapt for the big screen, is based on the novel Queen Bee Moms and King Ping Dads: Dealing With The Parents, Teachers, Coaches, and Counselors Who Can Make – or Break – Your Child's Future from Rosalind Wiseman, the same author as the book Mean Girls is derived from. According to Deadline, Mean Moms focuses on a mother who confronts malicious suburban moms, a far cry from the high school halls of North Shore.You may not know this since it seriously tanked, but a sequel to the hit comedy, Mean Girls 2 already happened, airing on ABC Family as opposed to in theaters... because let's be real here: it's quite a trek to follow the footsteps of the legacy left behind by the original classic.
I know your cheeks must be bright red from all the crying, but there is a silver lining, believe it or not! While McCarthy-Miller was a director for SNL, she worked alongside Mean Girls mastermind Tina Fey and supporting player Tim Meadows. So maybe they'll lend McCarthy-Miller a few pointers?
All we hope is for Amy Poehler to reprise her role as Mrs. George and bust into Mean Moms insisting, "I'm not a regular mom, I'm a cool mom".
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We're still not entirely sure where the next season of Saturday Night Live stands Fred Armisen-wise. In true Sudeikis fashion, the longtime variety show star has kept the status of his return moreover nebulous. But whether or not we'll be seeing him pick up with his old Barack Obama (oh, no, that's Jay Pharoah now), Kat and Garth (nope, Kristen Wiig is gone), or The Californians (no, no, they've got to realize that it's time to call it quits on that one) shtick, we will have access to Armisen in another form entirely: the movies. The comic actor has scored his first (potentially) post-SNL gig, and first starring role in a big screen feature. Armisen will take the central role in the tentatively titled Justice for Al, a house arrest comedy from the director of Bad Santa, as reported by The Wrap.
For years, Armisen was a ubiquitous bit player in Hollywood's comedy scene, embodying one-off characters of every race and ethnicity imaginable (acting versatility is really dependent on ambiguity of skin tone, apparently). But Justice for Al will be Armisen's first shot at taking the wheel of a movie. So how much weight are we really putting on this role? History shall guide us; let's look at some of Armisen's contemporaries...
Kristen Wiig's first starring role: The Brothers Solomon, a half-witted comedy in which she played the surrogate mother to two dopey brothers. Didn't exactly showcase the chops for which we'd come to love her.
Will Ferrell's first starring role: Men Seeking Women, in which he played an idiotic manchild on the hunt for sexual gratification. Yeah, sure, that's pretty much what he always plays... but the movies got a lot better. Or at least more quotable.
Tina Fey's first starring role: Baby Mama. Yeah, she was important in Mean Girls (and she wrote it), but that was Lindsay's movie. Oh Lindsay. The promise you once had... In any event, Baby Mama was cute, but nowhere near the degree of wit that we've come to associate with Fey.
Amy Poehler's first starring role: See above. All of it.
Jimmy Fallon's first starring role: Taxi. And now he's hosting the freakin' Tonight Show. We live in a strange world, folks.
Andy Samberg's first starring role: Hot Rod. I don't care what you say, Hot Rod is hilarious. Still waiting for anything in the vein of a follow-up...
Going back further, we have the likes of Mike Myers, David Spade, Chris Farley, Adam Sandler, Chris Rock... all of whom turned their SNL reputations into blockbuster careers. So how will Armisen fare, and is Justice for Al a good sign?
At least it's not a Californians movie. Don't act like they haven't considered it!
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